RATING: 7/10

The goat as an animal is often depicted as either cynical or humorous, and its deeply rooted origins in myth see’s the four-legged horned creature represent balance. So, what the hell has this got to do with three Londoners who decided to relentlessly shred in the name of ‘the greatest of all time’?

Well, let’s get one thing right about Puppy. They’re ballsy, oh boy are they ballsy, and on a first spin Goat wondrously leaves you feeling confused, sparking curiosity to make you listen to the record again, and again…and again.

The opener, Black Hole wastes no time in establishing just how sonically massive the next will be. The entire record is laced with the sounds of the early 90s and 2000s power rock, and comparisons can be made to the likes of Audioslave, especially on the heavy bass lead introduction to, World Stand Still – a pre-approved Cochise sized anthem for our generation. It’s just a shame that this groove only sets in seven tracks too late, dampening what could have potentially been a hard-hitting introduction for the band’s first proper debut to the world of rock.

a pre-approved Cochise sized anthem of our generation

The tone of vocalist Jock Norton’s vocals bursts with the same intensity, and at time pitches of an early Billy Corgan (Smashing Pumpkins), with latest single, Bathe In Blood infectious vocal led melodies proving that he’s got more bite than he has bark. However, we can’t help but refrain on the first listen, after all Pearl Jam and Faith No More’s slightly higher pitched vocals aren’t everyone’s cup of tea. Blend this with lyrical content with, a sword and shield on the battlefield,” and at times the record becomes a little cliche, biting around the edges of cringey. In contrast, whilst the band boldly put forward a humorous front, the darker imagery of the record, along with other well disguised, and renaissance tinted metaphors are a gallant statement of the band’s creativity to discuss their inner demons in a way that seems cleverly complacent.

a refreshing approach to a nostalgic sound every time you ram it into your ears. 

If you sheer away the minor blemishes, the band still manage to take their debut by the horns, and in one swift Terminator worthy cinematic save, the last three tracks, I Feel An Evil, Handlebars, and Demons is a solidly cathartic stream of catchiness and fuzz ridden hooks which draws us back in just before we have the chance to tap out. You may walk away from the first listen curious about the cluster of generational musical tastes being woven together by three British rock gods, but that is what is simply brilliant about this record. Each new listen brings with a new discovery, and thus makes it a refreshing approach to a nostalgic sound every time you ram it into your ears. 





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